^^""Oj, 




o 

o 

21 
O 



«^ *^ S 



Class 
BooIl 



^ss.m 



Author 



Title 



Imprint 



The Wayside Piper 

Mary S. Edgar 



The Wayside Piper 



Mary S. Edgar 

M 



Written for the Commencement Week of the Class of 1915 of the National 

Training School 
Awarded first prize in the drama contest conducted by the Panama-Pacific Elxposi- 

tion Contest Committee 
Published by the National Board of the Young Women's Christian Associations, 

600 Lexington Avenue, New York City 






qc^ 



Copyright, 1915, by 

National Board of the Young Womens Christian Associations 

OF THE United States of America 



©•UA4J73S6 



r 



DEC 23 1315 



FOREWORD 

"The Wayside Piper" is based upon the old story of "The 
Pied Piper of Hamelin," but in this dramatic adaptation the music 
of the Piper symbolizes the appeal of the Young Women's Chris- 
tian Association to the hearts and minds of girls. 

Into the Piper's flute. Faith and Hope and Love have breathed 
the essence of themselves to produce a clear spiritual melody with 
which the Piper goes forth into the wayside places of modem life to 
awaken a responsiveness and call forth the latent music of individual 
expression from all kinds of girls. 

In the Prologue it is shown how the Piper gets his music and 
the three graces are personified by three young girls taking the parts 
of Faith, Hope, and Love, who give to his music its strength and 
joy and tenderness. In the Council scene which follows, the Spirit 
of Service has called together her Counselors to discuss the problem 
of the needs of girls. The Counselors are from the Workshops, 
the Fields and the Campus, suggesting the three large divisions of 
Association work among City, Country and College girls. Each 
Counselor states what she sees to be the need of her girls and there 
seems to be no evident solution for the problem until the Wayside 
Piper, wandering in, overhears their words and pipes his magic 
music. Then to him is given the sacred charge of going out into 
the highways of the world to attune the inner lives of girls to his 
clear true notes. Three short scenes are given representing indus- 
trial, country and college girls and showing how the Piper succeeds 
in awakening a response, giving them new joy and the consciousness 
of a purpose in life. In the closing scene the Piper brings all the 
girls together, carrying out the idea that the Association is an 
"association" of all kinds of girls, and in a final hymn he draws 
forth from them the expression of a new faith in God and a desire 
to extend His Kingdom. 



CAST 

The Piper 

Faith Counselor from the Fields 

Hope Counselor from the Campus 

Love Six industrial girls 

Spirit of Service Five country girls 

Counselor from the Workshops Three college girls 

Any number of girls may be used for the closing hymn. 



The Wayside Piper 



PROLOGUE 



Scene: A wayside place. Music is playing softly the motif of 
**Hark, I hear a Lover's Flute," from Charles Wakefield Cad- 
man's Indian Love Songs. 

[Adapted motif for Piper's dance}. 



#"^H 




Piper dressed in green tunic, girdle, cap with feather, brown stock- 
ings and sandals, comes skipping lightly in, keeping time to the 
music with a step similar to the schottische of three steps forward 
and the foot raised, and repeated, then the same step backwards 
and repeated. Piper has the appearance of "discovering" a 
wayside place. The music ceases and the piper throws back his 
head and speaks, rising slightly on his toes with an upward move- 
ment of the arms on the word "glad." 



Piper: 



Glad would I be, on some clear magic reed. 

To flute my way. 
Out in the world where dwells some human need 

Of piper's play; 
To stir perchance the songless hearts of men. 
Awake, a-thrill with Life's sweet note again. 

To hold within my feeble instrument 

The soughing wind, 
And sweep new vigor through a heart forespent 

And courage find; 
To breathe the Spirit's breath in living word, 
Until resistlessly a life were stirred. 



To pipe the ripple of the bubbling Source 

And hail a friend — 
And some parched child upon a weary course 

Refreshment lend; 
That through the channel of my flute might burst 
A hidden Spring to quench some burning thirst. 

Within my hands the golden Light to grasp, 

[hands raised] 

And make it song; 
And waft it forth for other hands to clasp, 

[movement of sending forth] 

Undimmed and strong; 
To pierce the dark with one immortal gleam. 
And kindle there a vital glowing dream. 

Thus would I through the footpath ways of Earth 

Pipe Love's refrain, 
Pour out a wealth of song and wake to birth 

A kindred strain. 
Far off, perhaps, and faintly might be heard 

[slowly, in happy listening mood] 

The lingering echoes of one passing word. 

Piper stands in meditative attitude at right of stage, and a young 
girl. Faith, dressed in graceful amber gown, enters, on the left. 
He does not see her until she speaks. 

Faith: 

Ah, Piper, there has lately come to me. 
Like thistle-down adrift on summer air, 
A wistful echo of your heart's desire. 
Therefore I come to breathe within your pipe 
A melody, — a music that can set 
The fretful heart atune with childlike trust. 
For I am Faith, and I have clearly sung 
Through passing ages, to the human heart. 
So, Piper, 

[takes in her hand the flute] 

Here within your rhythmic flute, 
I breathe the breath of Faith, and bid you fare 
Out in the world, and there send forth your song. 
Until some faith-less child awakes to sing. 

6 



She breathes in the flute and retires. Piper takes a few steps in the 
direction she has gone. A young girl, Hope, dressed in rain- 
bow colors, slips joyously in at the right. All her words and 
movements suggest buoyancy. 

Hope: 

Wayside Piper, I have lightly sped 
From over sunny hill and singing stream. 
For I am Hope, and underneath my feet 
The fairest flowers spring, and fields are green. 
Upon my wings the rainbow dreams of men 
Are borne aloft. And on the broken strings 
Of lost desire, my gentle fingers play 

[express idea of Watt's painting of "Hope"] 

And wake anew the music of the heart. 

1 thought I heard an echo of your need. 
And I am come to bring my richest gift. 

[takes pipe] 

Within your pipe I breathe the breath of Hope: 
Oh, waft it forth in lavish melody. 
Oh, rise, and wandering forth, your music make. 
Where'er you chance to find a songless child. 

Piper follows a few steps, and Love, a young girl in white, enters 
on the left. 

Love : 

Music Maker, I am known as Love; 
My home is everywhere; I set my feet 
Within the starry pathway of the sky, 

[pointing upward] 

In quiet places where the wild things are. 
And in the marts of men. I wake the dawn. 
And kindle fires along the sunset sky. 

[moving hand slowly wesitvard] 

1 blossom in the rose, and nightly fold 

[folding arms slowly as in embrace] 

My tender arms about the universe. 

I wake the smile that creeps on baby lips, 

I wake the thrill that comes in Youth's glad hour, 

I wake the song that everywhere finds birth. 

For I am Love, and Love is life's great dower. 

[tenderly] 



So, Piper, • 

[takes the Hute] 

To my lips I place your flute. 
And give your music something of myself. 
Now fare you forth along the world's highway, 

[motioning the Piper] 

And waken there the symphony of Love. 

Love retires and the Piper places the flute to his lips and plays a 
strain of sweet music from Cadman's Indian Love Song, "Hark, 
I hear a Lover's Flute." 




SCENE I. THE COUNCIL 

Scene: An arbor. Spirit of Service is sitting when curtain rises 
but stands to greet her counselors who have just entered. If a 
curtain is not used the scene may be the same as in Prologue. 
The Counselor from the Workshops and the Counselor from the 
Fields enter on left talking together as they come in. The 
Counselor from the Campus enters on right and they exchange 
greetings. The Spirit of Service enters at center back. 



Spirit of Service (with voice and movement indicative of welcome) 

Fair counselors — my warm and trusted friends. 
Again we meet in sympathy of thought. 
With eyes upon the same far-distant goal 
Of future good. I therefore welcome you. 
And bid you state whatever lies 
Close to your hearts, of sorrow or of joy. 



Counselor from the Campus: 

We bring to you our greetings, and are glad 
Once more to lay the burden of our thoughts 
Before the gracious one in whom we see 
An ever-ready willingness to serve. 

Counselor from the Fields: 

And we would wait the wisdom of your words 
To set our feet anew in paths of work. 

Spirit of Service (earnestly) : 

Ah, colleagues, I have called you here to-day 
To weigh the problems of the needs of girls. 
You know them, for you come from city mart. 
From quiet country places, and from schools. 
You too, have heard the murmurous discontent. 
The selfish wish, and stifled cry of need 
That rises in a discord to our ears. 

Counselor from the Workshops: 

We have, too oft, nor can we e'er forget. 

Spirit of Service : 

How is it thus? — and what are we to do? 

What is the present need you daily see. 

As silently, invisibly you pass 

Out in the world through varied groups of girls. 

What do you find, what service freely given? 

How may the Kingdom of the Serving Love 

Be widened everywhere in East and West 

[arms thrown wide apart] 

Beyond the sacred frontiers of the heart? 

Counselor from the Campus: 

What can we say? — the spirit is abroad 
For service, for it lives in printed page. 
On lips of men and often in the heart. 
We see it everywhere, its leaven spreads 
By day and night — and yet we also find 
Where'er we turn, that there are girls unreached. 



Counselor from the Workshops (with admiration) : 

Ah, yes, the flower of Service freely yields 
Its fragrance on the earth. I've watched it grow 
Where scarcely could be seen a ray of light. 
Yet how I wish that I could see no more 
A picture that comes often to my eyes. 

Spirit of Service: 

What is this thing that haunts your memory? 

Counselor from the Workshops (visualizing) : 

Before my eyes the vision slowly forms: 

I see dim narrow streets and brick red walls 

And little children seeking room to play. 

I see small girls who scarce have learned to skip 

Before the beckoning hand of daily Want 

Bids them "Away and work!" Many there are 

Whose eyes have never seen the "Golden Age," 

That glorious age of dreams — Youth's heritage. 

Who ne'er have watched a crimson bud unfold. 

Who ne'er have thrilled to feel the Spring's wild breath 

[express thrill] 

Who ne'er have flung themselves in utter joy 

[express abandonment] 

Upon the bosom of our Mother Earth. 
Little and old I seem to see them bend 

[change in tone] 

With misty eyes, above great piles of work 

[illustrate zvith movement] 

Moving the hand or foot in dead'ning toil 

While dreary, unrelenting hours drag on. 

The young head droops, the little face grows wan. 

The shoulders stoop, the eyes forget to shine. 

And from the precious fabric of a life 

The glow and freshness of its youth is gone. 

[drops hand heavily to side] 

Spirit of Service: 

Oh, can it be that you behold aright? 
What can we do? — What can we ever do? 

10 



Counselor from the Workshops: 

I do not know. I ponder it each day. 
Nor yet have found the answer to the need. 

Spirit of Service (turning to the Counselor from the Fields, expec- 
tantly) : 

But you, my friend — the Spirit from the Fields, 
What do you see among your country girls 
Who have for heritage the great Out-Doors? 
You surely bring a picture of content 
And joy, in all God's fair and fruitful world. 

Counselor from the Fields: 

I wish that I could say it is all fair. 

The country-sides are bright with springing flowers 

Ishows appreciation of beauty] 

The woods are dim and cool with moss and fern — 

I see the pastures where the cattle graze. 

The orchards where the boughs are white with bloom. 

But, too, I see young girls on scattered farms, 

In lonely places, where companionship 

Is scarcely known and pleasures far between. 

And somehow from the round of common toil 

There fades for them the glory of a task. 

They see — and yet I think they do not see, 

[meditatively] 

The changing beauty of the circling year. 
Where lies the key to open up their world? 
'Tis this, I think — acquaintanceship with One 
Who taught of old from simple wayside things 
Of Galilee, the parables of love. 
They need to know His Presence still is there 
And knowing this, the hills are hallowed ground. 
The lilies and the birds tell of His love. 
And life becomes a joyous chance to share. 

Spirit of Service : 

You state the need aright — What can we do? 
11 



Counselor from the Fields: 

I do not know. It surely lies with men 
To witness to the truth that has been given. 

Spirit of Service (turning to Counselor from the Campus) : 

And you — what do you see day after day 
Within your campus world? 

Counselor from the Campus : 

A picture fair at first to look upon, 

Of countless girls with eyes aglow with light 

[animation] 

And minds alert. I see an eagerness 

[crosses to left of stage beside the other two counselors'^ 

To follow Truth beyond its farthest rim. 
And grasp the whole of Life's great mystery. 
Erect and strong and free they seem to stand 

[express with movement of shoulders'] 

Before the open doors of Leadership 
With many lovely gifts of mind and heart. 
And yet, I see but few who enter in 
To lay their gifts in true humility 
Low at the feet of others in their need. 

Spirit of Service: 

Your words weigh heavily upon my heart. 

Piper comes in with the same light step as in Prologue and with 
pipe in hand. Stands listening while Spirit of Service speaks 
(with feeling) : 

Oh, how I wish that I could send you forth 
Throughout the world, to waken there anew 
The radiant possibilities of girls. 

Piper advances and plays his melody. 

Spirit of Service (with surprise) : 

O Piping Stranger, whither have you come? 
Your mystic music stirs the soul of me. 

12 



The Piper (with exuberance) ; 

Oh, I am the Wayside Piper 

Footing the paths of Earth, 
Making a magic music 

Piping a glad rebirth. 

Sad hearts. 

Glad hearts. 

Awake ! Awake ! 

I make things new, 

For Love's own sake. 

Hear! Hear! 

My music clear 

Can banish all 

Your gloomy fear. 

Sing ! Sing ! 

Your gladness bring. 

Until the Earth 

With song shall ring. 
For I am the Wayside Piper 

And I search for a human need; 
Then I pipe new faith and hope and love 
Upon my magic reed. 

Again the Piper plays his melody. 

Spirit of Service (joyously to Counselors) : 

O Miracle! How wonderful it is! 
He has within his flute a gift divine. 

[turning to Piper] 

O Piper, you are timely for our need, 
For unto you has come a solemn trust. 
Those tender notes of faith and hope and love 
Can make dull hearts vibrate and live anew; 
Where'er you go your outpoured gift may be 
A wayside sacrament of serving love. 
So here we offer you a sacred charge: 
Go forth among the girlhood of the world 
And there attune the inner life to God. 

Piper bows low in acceptance of the charge. 

13 



Counselor from the Workshops (coming forward and slipping her 
symbol — a tool — in the Piper's belt) : 

The symbol of my task I offer you. 
It stands for usefulness, so may you be 
An instrument kept bright and fit for work. 

Counselor from the Fields (advancing and placing a wreath of 
clover blossoms upon the Piper's head) : 

Upon your head I place a clover wreath, 
May Beauty crown you wheresoe'er you go. 

Counselor from the Campus (placing her symbol, a book, in the 
Piper's belt) 

My symbol is a book. May Knowledge be 
Companion to you all the way along. 

Song to the Piper by Spirit of Service and Counselors. Tune: 
•To Night." 

Sacred the charge we give to you 
Piper of Song. 

Follow the winding waysides through. 
And lead Earth's girlhood forth anew. 
Awakening music rich and true, 
Where'er you chance along. 
Make life's note strong. 
Piper of Song. 

Sacred the gift entrusted you. 

Piper of Song, 

Go with your pipe and sweetly woo. 

From the shop and field and campus too. 

The girls who would their lives renew 

And hand and heart make strong. 

So fare along. 

Piper of Song. 

14 



A young girl enters at center back, representing the Twentieth 
Century. She is dressed in white and silver, with flowing hair, 
and carries a tall torch (formed of an electric flashlight in a 
cornucopia of silver with golden crepe paper curving above the 
light.) 

Spirit of the Twentieth Century (addressing the Piper) : 

The Twentieth Century Spirit welcomes you, 
And lends her light to guide you down the years. 
As yet we stand but on the threshold dim. 
And cannot see what changes wait us there. 
Within the cycle of the passing years. 
But faintly I discern a sunrise sky, 

[visualizing] 

Flooding the East with tints of rose and gold. 
And spreading o'er the world the light of Peace. 
I see beyond the mists and clouds of war. 
The shining symbol of the reign of Love, 
When nations shall link hands to stand for right. 
I see a time when radiant womanhood 
Within the Kingdom that will come on earth 
Will find at last the more abundant life. 
And crowned with freedom, gladly live to serve. 
Come, follow me, O Piper, down the years, 

[turns to Piper with suggestion to follow] 

I seek to show all women. East and West, 
The radiance of my torch, until the Dawn 
Shall usher in at last the "Golden Age." 

The Spirit of the Twentieth Century leads the way out, lighting the 
Piper's path while he flutes again his melody. Spirit of Service 
and Counselors turn to each other gladly, seeing the solution of 
their problem. As the Piper reaches his exit he turns with a 
suggestion of roguishness and pipes to them, and they follow 
him out with a new joyfulness. 



15 



SCENE II. THE WORKSHOP 

Scene II. The Workshop. (If curtain is used). A workshop 
with crude benches, sewing machine, piles of unfinished garments 
lying about. Six girls bending very closely over their sewing 
and working silently and mechanically, their sleeves rolled up, 
hair rather dishevelled and with weary droop of shoulders. The 
Counselor from the Workshops is glimpsed in the background. 

(If curtain is not used). The staging is the same as in other scenes 
and girls come wearily in, three from each side, carrying their 
work over their arms and a small stool in one hand, sit down 
rather lifelessly and commence sewing. 

This part is mostly pantomime except for the following casual 
remarks : 

First Girl (roughly) : Thread there! 

Second Girl; Bother! (throws it at her). 

Third Girl: Gee! I wish that whistle 'd blow! 

First Girl: I do too! 

Fourth Girl lets her work fall, rests her chin on her hand and sits 
in a dreamy attitude. 

Fifth Girl (to the girl who is dreaming) : Get busy there! This 
ain't no place fer dreamin'! 

Fourth Girl listlessly commences work agciin. 

Third Girl (throwing down her work on the floor) : 
I'm sick of this job! 

Sixth Girl : Goodness knows I am too. 

Third Girl, slowly picking up her work, shrugs her shoulders and 
starts to sew again. 

16 



The Piper comes skipping lightly in, shows astonishment at discover- 
ing such an unhappy group, pauses a moment and studies them, 
then with a knowing smile he places his flute to his lips and piping 
his motif skips lightly in among them, peeping over their shoul- 
ders at their work and trying to attract their attention, but they 
are so intent and working so rapidly that they do not see him. 
He pauses before the one who has been dreaming, and bending 
down, pipes to her. She becomes suddenly conscious of him, 
drops her work and watches him, and her face gradually shows 
a response to his music. Then he motions her to go and arouse 
the others; this she does with a happy excitement and when all 
are standing the orchestra plays some folk dance and the girls 
fall into two lines, facing each other. The Piper takes his place 
in the center back and with his pipe motions them through a 
simple folk dance, which begins rather slowly and quietly but 
gradually has more brightness and spontaneity until the girls 
throw themselves quite into the spirit of the dance and laugh 
merrily. They form a semicircle at the close of the dance with 
the Piper in the center and keeping time to the music with the 
swaying movement used in "Sir Roger de Coverley," they sing 
the followang song. Tune: "Song of April," or "My Mary- 
land." 

Life has music in it now 
Something glad and new. 
Piper, Piper, teach us how 

[all turn towards Piper] 

We may keep it true. 

Now we are awake, awake. 

Earth becomes for us more fair. 

Something new has come to make 

Of our daily work, a prayer. 

Piper, Piper, help us be 

Pure and strong, erect and free. 

If tune "Maryland" is used, repeat two last lines. 

17 



The girls break their circle, scamper back to their sewing and 
gathering it up they form a semicircle again and continue their 
work while they sing the second verse of the song. They stand 
far enough apart for the Piper to skip in and out between them 
examining with admiration their work as they sing the second 
verse. 

Now we take our work once more 
See, it has a glory tint! 
Why, *twas never there before 

[surprise, holding work up] 

Not the faintest rosy hint. 
Now we see it woven through 
With a purpose shining bright. 
Ah, we glimpse a rainbow too. 
Arching there before our sight. 
Piper, life is good and fair. 
And we would the secret share. 

[Piper takes them off with a dancing movement] 



SCENE in. THE FIELDS 

Scene III. The Fields. Scene : The out-of-doors. The five coun- 
try girls in this scene are scattered to represent the separated lives 
they live on the farm. Each one is working alone unconscious 
of the others. One girl is seen kneeling beside a basket of eggs 
counting them out into an egg case. One is sitting on a bench 
peeling apples; one girl is mending; another is poring over her 
school books and seems puzzled over a problem which she can- 
not work out alone. The fifth is sitting on the ground tying 
daisies together into a garland. The orchestra is playing "To 
a Wild Rose," by Edward Macdowell. The Counselor from 
the Fields is standing in the center back half hidden by leaves. 

18 



As the music ceases the Piper's dance-motif is heard again and he 
comes skipping in at the right, pauses a moment, studies the 
group, then places his flute to his lips and pipes his melody. The 
girl who is winding the daisy garland sees him first and sits 
silently entranced by his music, then springs up singing, "Arise, 
arise, the Piper's come!" She sings this verse alone, arousing 
the others as she sings and forming them in a semicircle holding 
hands. 

Tune: "The Song of the Illyrian Peasants" (with movement in 
time to music). 

Arise! Arise! The Piper's come! 
Send the message everywhere. 
Arise! Arise! The Piper's come! 
Send the message. 
Send the message. 
Everywhere. 

All join in singing the second verse while the Piper stands at one 
side looking happily on. 

He bids us rise up strong and free. 

And be the best that we can be. 

Hark! He bids us music make. 

Music make. 

Till the wayside shall ring with songs we sing 

And joy is awake in everything. 

The Piper dances in and out through the semicircle. 

O'er the field and o'er the wood 
Pipe the song of sisterhood. 
Then joy and peace their fruit shall yield, 
A harvest rich from every field. 

The Piper steps to the center of the semicircle. All join hands, 
raising them high above heads they go forward to front of stage. 

19 



Hark! He bids us music make 

Music make. 

Till the wayside shall ring with songs we sing 

And joy is awake in everything. 

This song may be repeated from "He bids us rise" if desired, and 
other movements introduced. 

At the close of the song each girl gathers up her work, the girl with 
the daisy garland slips it over the Piper's shoulders and they 
all dance off, following the Piper out on the left. 

If a curtain is used the following ending may be given: At the 
close of the song the Piper takes from his belt the book given him 
by the Counselor from the Campus and they sit down in a semi- 
circle as for an out-of-door Bible group. The orchestra plays 
very softly, "Fair are the meadows." The Counselor from the 
Fields steps forward and raising her hands above the group, 
stands in the attitude of one pronouncing a benediction. 

Curtain. 



SCENE IV. A CAMPUS 

Scene: Out-of-doors on a Campus. One girl in cap and gown is 
studying with books piled beside her on a bench. Two girls in 
white middy suits have just come in from playing tennis and are 
resting. One is fanning herself with a magazine and the other 
is casually tossing up one of the balls. The Counselor from the 
Campus is looking on, though scarcely seen. 

A few notes of the Piper's music are heard in the distance and the 
two girls sit up quickly and listen. 

20 



First Girl: 

What is that flute-like sound I hear. 
That has within it something of a call? 

Second Girl : 

I do not know. It's strcinge and very sweet! 

First Girl: 

What is the thing it wakens in your mind? 
It seems to speak to something deep in me. 

Second Girl (rising) : 

It's nothing more than just a Wayside Flute, 
So come, our game's a tie — let's finish it! 
I'm rested now. We'll play the final set. 

First Girl: 

Let's wait awhile! Perhaps I'm rather tired — 
But somehow there has come a different mood. 
For weeks I've thought of nothing much but sport 
But that stray note of music had a call 
To something else. I wonder what it is! 

Second Girl (shrugging her shoulders) : 

I'm not much given to dreams or changing moods; 
I'd rather play than listen to a flute. 

They wait listening and hear again a strain of the Piper's motif. 

First Girl: 

Ah! Listen! There it is — this time more clear. 
There's no mistaking now, it is a call. 

The girl who has been absorbed in study, looks up now and listens 
too. 

Third Girl: 

What is that wistful piping sound I hear? 
21 



First Girl: 

We do not know. We heard it once before. 

To me it has a strange, familiar sound, 

I seem to catch a passing glimpse of home — 

The little village street and dusty roads. 

And girls I played with there so long ago. 

I wonder why there comes the thought of them, — 

Our roads have branched so very wide apart. 

Their village life is colorless and dull, 

And yet that music makes me think of them. 

What does the music mean to each of you? 

Second Girl (indifferently) : 

I think that it was just a passing call. 
It cannot be that it was meant for us. 

Third Girl (with conviction) : 

I'm not so sure, for I was deep in thought 
When like a clarion call I heard my name. 
Those clear high notes still echo in my ear 
And I must know the challenge that they bring. 

Second Girl: 

Then why not go and bring the Piper here. 
He's somewhere on the Campus yet, I think. 

Third Girl (rising) : 

I'll find him, then. Why, see, he's coming now. 

Piper comes in on left. 

O Piping Stranger, we have heard you play. 

And something in your flute is new to us. 

What does it mean? What would you have us do? 

Piper (more slowly and more seriously than in other scenes) : 

Oh, I am the Wayside Piper. 
Listen! — and you will hear, 
For as I play my flute again 
The meaning will grow clear. 

22 



He plays, making every note of his motif clear and purposeful, 
then bows to them and goes out. 

Third Girl (with enthusiasm) : 

Ah, now I have it! Now I see the thing 
That I can surely do. How clear it is! 
Why, there are many girls from far-off lands 
Who do not know our tongue and carmot read. 
Who yet have dared to venture forth alone 
Across the seas. How brave and strong they are. 
What dauntless dreamers eager for life's best. 
Here are my books; ah, surely I can share 
With someone else the light I have received. 

First Girl: 

The glimpse I had of home has meaning now, 
I realize there is a debt to pay. 
I clearly heard: *'Go back and share your gift, 
For freely as you have received, so give." 

Second Girl: 

I believe I caught a message faintly too, 

[slowly] 

But cannot yet its meaning fully grasp. 

It made me think of God's great out-of-doors. 

Water, and trees, and birds, and summer sun. 

[with vitality] 

I heard the laughter of fun-loving girls. 
And saw long rows of little white-walled tents. 
And there from scattered groups beneath the trees. 
Girls beckoned me to lead them in their play. 
Some pointed lingers toward the shining lake. 
And seemed to yearn to plunge into the waves 
Yet knew not how to swim. Oh, can it be 

[with eagerness] 

The love of sport's a gift that can be used? 



First Girl: 



Perhaps it is — when it is used aright. 
23 



Second Girl (with idealism) : 

And those high notes the Piper softly played 
Spoke to me of an upward winding trail. 
I wonder whether I could start girls forth 
Upon the greatest Quest of which I know. 

Third Girl: 

Let's go apart and think it out alone. 

First and Third Girl go out on different sides, leaving Second Girl 
standing in meditative mood for a few moments. Her face 
gradually lights up with the consciousness of a purpose, she 
clasps her hands and throws back her head as though saying a 
grace for the new revelation that has come to her. 



EPILOGUE 

Scene: Out-of-doors. The Piper comes in alone, plays his motif 
first at the right side of stage, then at the left, and the orchestra 
takes up the melody. Any number of girls enter from each side 
keeping time to the music, cuid crossing stage, they pass in center 
back and form a large semicircle. The group should be made 
up of all kinds of girls — college, industrial, foreign and country 
girls. The Spirit of Service and her three Counselors take places 
at the left side front, but only as witnesses of the Piper's fulfilment 
of his charge. The Piper is at the right side front and as the 
orchestra strikes the opening chords of the hymn, the Piper takes 
a step towards the center and with his flute as baton he assumes 
the role of conductor and brings out the music of praise and pur- 
pose in a triumphant hymn. 

24 



Hymn (to Beethoven's "Hymn of Praise") : 

And now ere we part we would offer our praises, 
To God the Father, Lord of Might, 
Who of His love has formed us and kept us 
And given His Son to be our Light. 
'Tis His the music that wakens the Spirit 
And His the way of Perfect Love, 
'Tis His the Life more abundantly joyous 
That comes to Earth from Heaven above. 

May we go forth now to widen His Kingdom 
That Peace on Earth may fully be known. 
His work to do with truer devotion 
Until His Love shall reign alone. 
With joy we go in fuller allegiance. 
Where'er His Spirit guides our ways 
Till womanhood in the world's darkest places 
Shall learn of Him and live His praise. 

The Wayside Piper plays his motif once again and pipes them all 
away, and crossing the stage after him they imitate his quaint 
little step, while the orchestra plays his motif in quick six-eight 
time. 

The End. 



25 



NOTE 

Additional costume suggestions: Spirit of Service, white; Coun- 
selor from the fields, pale green with wild roses; Counselor from 
the workshops, pearl gray; Counselor from the campus, azure blue. 

The songs "To Night," "Song of April," "Song of the Illyrian 
Peasants," and the Beethoven "Hymn of Praise," are all found 
in the Laurel Song Book, which can be ordered from C. C. Birch- 
ard & Company, 221 Columbus Ave., Boston, for $1.00. If this 
book is not used, the "Song of the Illyrian Peasants" and the 
"Hymn of Praise" may be ordered from the same company for 
three cents each; the charge sung to "To Night" may instead be 
spoken; and the song written to the "Song of April" may instead 
be sung to the tune of "Maryland, My Maryland." 

Macdowell's "To a Wild Rose" can be ordered through any 
local music store. 

If the Piper's pipe cannot be purchased locally (it may be a 
simple celluloid flute), it can be secured by sending 35 cents to 
Scranton & Wetmore Co., Rochester, N. Y. 



26 



Dramatic Material for Association Use. 



The Wayside Piper. By Mary S. Edgar. Price 15 cents. 



The Spirit of Sisterhood. By Helen Santmyer. 

Depicting in simple but effective dramatic form the growth 
of understanding between girls and women of different groups 
and classes, through the centuries. Price 1 cents. 



The Christmas Story. By Jane T. Miller. 

Six tableaux illustrated with the singing of carols and readings 
from "Ben Hur." Can be given wath little expense or prepara- 
tion. Price 20 cents. 

Girls of Yesterday and Today. 

Half pageant, half play, this presents the history of the Young 
Women's Christian Association during its fifty years of exist- 
ence in this country. For use in connection with the Asso- 
ciation Jubilee in 1916. Price 10 cents. 

The Ministering of the Gift. By Helen Thobum 

A national pageant showing the present-day activities and 
purposes of the Association. Price 1 5 cents. 



Order from 

National Board of the 

Young Womens Christian Associations 

600 Lexington Avenue 

New York City 

27 



r5 3r<j? 



iX^ W. ''/^ •'^ *'^ 



LIBRARY OF CONGRESS 




014 678 334 A 



